Posted on March 18, 2016
For the past few months, I’ve been swimming upstream in a sewer. Books have always been my salve, my reprieve from waking life. It was easy to step into someone else’s life when my own became too much to bear. When Mike B. and his crew made me their object of scorn and ridicule in high school, I packed my bookbag with Cheever, Salinger, Hemingway, and Ann Beattie. When I was laid off from a dot.com that blew through $10MM in VC-funding within its first year, I cocooned in my bedroom with Joan Didion, Virginia Woolf, and Judy Budnitz. When I learned a great love was sleeping with half of the women in the tri-state area, I pored over biographies penned by Stacy Schiff, Harold Bloom, and Janet Malcolm. I read every biography on Virginia Woolf, Sylvia Plath, Anne Sexton and T.S. Eliot I could find.
I write to make sense of the world. I write to create clarity when none exists. I write to get passed, to get through. However, there are times when I can’t find the logic and my life is so dark I can’t see what’s in front of me. Times when grief and sorry become entirely too much to bear. In that disquiet, I turn to my bookshelf and browse. I might re-read a story collection I haven’t read in a decade because I’ve found that it’s nearly impossible to remember the plots of the books I read in my 20s–I only recall the generalities of a book, not its innards. I might read poetry because it’s hard (economy of language, the constant reference to other works that make you feel as if you’re falling through a bottomless nesting doll) and a single line could seize me for days.
[As I grow older it occurs to me that I only have vague recollections of all the years that came before, only my romanticized memory of them.]
However, over the past few months, reading has been a challenge. I’ve started nearly a dozen books to only file them back on the shelf. I’ve fallen asleep in the middle of a chapter. And sometimes I’d stand in front of my book thinking that the act of reading is an exercise in futility. A book wasn’t going to change my reality; I didn’t have the time to hide because I had resumes and cover letters to submit, humiliating emails to write.
Perhaps it’s my intensive therapy. Perhaps it’s the meds. Or maybe it’s my desire to climb back from this dark time and fight, but after the hours spent looking for projects and work, reading is a reprieve. Yet, it’s better than staring at a television screen playing out my anxieties to the point where they feel like an inevitable reality. And slowly, I’ve become engaged again–not at the voracious book-a-week clip, but just long enough to read a few chapters and check my email again.
I haven’t read much, but what I’ve read has been exceptional. Let’s hope the oncoming months usher in light and more books worth reading. For now, here are a few book recommendations:
Samantha Hunt’s Mr. Splitfoot: I’ve been waiting for Samantha Hunt to come out with a new book since I first read The Invention of Everything Else in 2009, and her new novel does not disappoint. The dual-narrative story follows the lives of abandoned orphans Nat and Ruth with Ruth’s pregnant niece, Cora, as they desperately try to piece together some semblance of a family. A modern gothic that plays out varying ways in which one can form a family–cults, religion (replete with faux evangelical Christians), orphanages–when a traditional one fails to materialize. The plot twist at the end is imaginative and unexpected. By far, this is the best book I’ve read this year.
Jhumpa Lahiri’s In Other Words: I admire Jhumpa Lahiri, an author who takes calculated risks in her work. I’ve read a lot of the criticism of her latest book, which is an odyssey of an infatuation with a language–in Lahiri’s case it’s Italian. Some called it frivolous, an act of privilege played out on the page. Others remarked that In Other Words didn’t have the narrative prowess Lahiri exudes in her prior books, where English was her dominate language. However, I loved it because it was risky not in spite of it. As a writer you can choose to play it safe, to create in your own narrow dominion, or you can fail better. Lahiri’s latest reinforced that sometimes it’s okay to pursue a passion that may not necessarily be pragmatic.
Pamela Moore’s Chocolates for Breakfast: I loved this book SO HARD. I have a predilection for books detailing the exploits of the rich and morose, and this story set in 1950s New York and Los Angeles, about the pains of privilege, was downright delicious. The story centers on ambivalent and bored Courtney Farrel, a fifteen-year-old-going-on-thirty-five, who comes of age in the midst of financial ruin (her mother’s an actress whose star is no longer a firmament in the sky), teenage debauchery (think Gossip Girl before cell phones and Instagram). I felt like I was reading Fitzgerald because everyone’s wasted and no one is happy–lost generation, etc. I read this book nearly in one sitting and I’m glad it’s back in print.
Monica Drake’s The Folly of Loving Life: I happened on this story collection by accident. Scrolling through Facebook, I saw a post from Drake’s publisher promoting the book, and I instantly bought it. I’m half-way through the book and already it’s one of my favorites. The linked stories set in a non-hipster Portland show characters at their most vulnerable. Broken people determined to find ways to make themselves whole. You follow the journey of a family where the mother is plagued by a vague illness (schizophrenia?) and the father who tends to her at the expense of their two daughters who try to find their place in the world when familial love and stability are missing. From Mexico to empty art museums and college dorm rooms, the despair expressed by the characters is palpable, but there’s a feeling of hope, which has been pulling me through.
Lauren Holmes’s Barbara The Slut & Other Stories: I wanted to love this story collection more than I did. The stories navigate the spectrum of intimacy. From the slut-shamed Princeton-bound woman who cares for her autistic brother amidst the cruelty of her peers to a daughter hauling Victoria’s Secret lingerie to Mexico in hopes of reconnecting with her mother–the stories are sharp and poignant, yet I felt as if there was something missing. I know that sounds vague but I finished the collection content, but not wholly satisfied or as connected to the characters as I wanted to be.
Posted on December 21, 2015
There will always be books to read. When I was younger there was a thrill in entering Waldenbooks. For hours, I’d get lost in the stacks or find a place in which to hide with my pile of books that I was already in the thick of reading. We didn’t have malls in Brooklyn–King’s Plaza–but nothing significant, and when my family moved to Long Island, malls awed me. They were gleaming and grand, and even though I couldn’t afford anything in the stores I’d still wander through them. They all had that new car smell. Sometimes I’d splurge on an Auntie Anne’s cinnamon sugar pretzel, slathered in hot butter or I’d feast on a Johnny Rockets cheeseburger back when I believed Johnny Rockets made a good burger. This was before the world. This was before context and seemingly endless choices. This was when Waldenbooks had the best books.
Back then I didn’t know what a “literary canon” meant. I didn’t know that there were writers you had to read or know. I read what interested me. I read Dostoyevsky alongside Pat Conroy and Alice Eliott Dark. I picked up Ann Beattie’s Where You’ll Find Me because the cover put me on pause. It was austere, bleached bone, and somber. I liked Flowers in the Attic and found Flowers for Algernon, and realized that maybe they weren’t so dissimilar. I read all of Ayn Rand until I realized that Ayn Rand was a bucket of crazy even if she knew how to tell a story. What I read was pretty much determined by my reaction to the first page of a book. If I didn’t like the first page or even the first sentence, why bother? I asked cashiers to recommend books based on ones I’d read and enjoyed. I read books mostly written by men because that’s what I read throughout high school and college. I was taught that men wrote the “big books”, the “great stories” while women wrote the quiet ones. It wasn’t until I was 24 and in the writing program at Columbia did I encounter bombastic, brilliant women. Joan Didion, Susan Sontag, Virginia Woolf (and no, I’d never read her work until graduate school), Gertrude Stein, Carole Maso, Maxine Hong Kingston, Toni Morrison, Mary Gaitskill, Grace Paley, Alice Munro, and I could go on. Until then I read books written by the dead, mostly, with some genre and sparse contemporary fiction for good measure. It’s hard to explain that there was a bliss in this ignorance, of not being aware of canon and the writers “one should read” (although now I think all of it is pretty much subjective bullshit, anyway).
Until then I read books written by the dead, mostly, with some genre and sparse contemporary fiction for good measure. It’s hard to explain that there was a bliss in this ignorance, of not being aware of canon and the writers “one should read” (although now I think all of it is pretty much subjective bullshit, anyway). Until then I didn’t know the disdain that “literary fiction” writers had for genre fiction, the tension between the books that sold well and were reviewed well. I didn’t put too much stock in book reviews because I frequently disagreed with them. I liked books people didn’t like and hated ones people revered. I read what pleased me and it would take me well over a decade to undo the snobbery I had taken for truth. Now I read whatever satisfies me in the present moment and know that a book’s value lies in the way that it gives a certain kind of pleasure to the reader or how it transforms them in some unimaginable way. I read mostly to see the world through someone else’s prism, and I write to make sense of the world in which I exist, a world that is often wonderful, frightening and confusing. I read and write to see what could be done with language, how it could be architecture or surgery.
I’ve read 52 books this year, most of them written by women, many of them poetry collections and children’s books. I love the latter because both genres require a velocity and precision that’s demonstrably absent from other genres. A child has a short attention span so the work of a children’s book lies in both the economy and simplicity of language balanced by story movement and images that transport the child into an imaginative place. People who think children’s books are easy to write are fucking bonkers. I wouldn’t dare because I’d complicate the story in some way or use an image that would send a toddler to psychotherapy. I tend to look at safe objects and wonder how I can make them unsafe or unsettling–if that doesn’t happen on the page for me, I’m not interested in the characters or story. For beauty is nothing but the beginning of terror, which we can just barely endure, and we stare in awe of it as it coolly disdains to destroy us. Every angel is terrifying, Rilke writes in the first of the ten Duino Elegies.
George Saunders says that a real writer makes you feel uncomfortable, he’s kind of a freak. “Uncomfortable moments are not without value…because they make you feel luminous”. And I agree with that. The stories that have remained with me have made me feel unsettled, uncomfortable or uneasy in some way. I cleave to difficult, broken people. I like writing and reading about them.
I’m not blog-famous, and that’s okay. I don’t have a literary community and haven’t found these communities to be particularly inclusive and supportive though I dare say they would say they are all the way to the grave. I find most best-of book lists to be ridiculous because best is merely a subjective reflection of one’s taste and cultural access (or lack thereof). So I think about next year, what I’ll read and write, and I have an urge to re-read the Classics because no one does tragedy and pillaging better than the Ancient Romans and Greeks. I want to read stories that wouldn’t easily slip into my purview (meaning, I have to do the work in finding works in translation, works from POC, those not aligning with a binary gender). I want to read more children’s books and poems because both give me great joy in moments of grave darkness.
In terms of writing, I want to create stories that straddle genres. I love the blurred lines between fiction and non-fiction and the fallibility of memory. I’ve become oddly curious about dark matter and neurology and not sure how that will factor in. I still like my broken, flawed women and will continue to champion dark stories and characters even when the world tells me that they won’t sell, no one will read them. Next year I’d like to collaborate with a visual artist in some way, get better at taking pictures, and allow for different, varied voices in my work. Moreso than I’ve been writing as of late.
Sometimes I think back to those days in the mall, on the floor of Waldenbooks. I think about how much I didn’t know, and even though much has filled the space between that girl then and that woman now, there’s still so much to learn. There’s always so much to know in the brief time we’re able to know it. So this is the work. Always be the student and never posture as a pure teacher.
Posted on August 23, 2015
Cannot the labourers understand that by over-working themselves they exhaust their own strength and that of their progeny, that they are used up and long before their time come to be incapable of any work at all, that absorbed and brutalized by this single vice they are no longer men but pieces of men, that they kill within themselves all beautiful faculties, to leave nothing alive and flourishing except the furious madness for work. –Paul Lafargue, The Right to Be Lazy (1883)
We live in an age where being busy is lauded. Popular thinkers craft lists on how you can cram more into a single day. Others publish books on how to get shit done–how to use technology as a means of saving time because the cruelest crime we could commit would be to squander it. A New Yorker cartoon shows two children negotiating thirty minutes of playtime. Consulting their crammed calendars, they resolve to reshuffle, re-jigger until they can secure a slot two weeks from that day when they can actually breathe. This puts me to thinking of my friends, how we always bemoan that we’re overbooked, double-booked, and maybe I can see you next month for a coffee?
There was a time when I worked sixteen-hour days. When weeks would pass and my only glimpse of the light was during a midday coffee break, when I’d race down the street to refuel to only sit at my desk and stare at a computer screen. I worked to have my food delivered, my groceries that invariably spoiled, delivered, to have books that went unread, delivered. Over the course of four years I gained 40 pounds and became a lesser version of myself. I was always tired, forever tethered to my phone–I was the one who missed the great moments in my friend’s lives–but you can understand, right? It’s work. I’ve so much to do. Over the past few years I’ve been trying to regard time differently–to balance fast and slow. That spending hours making a meal instead of having it delivered, or going for a walk when I could easily take the subway, meant something. So when a friend recommended Carl Honoré’s In Praise of Slowness–a book published in 2004 but is completely valid now, I set aside the stack and devoted time to understand the danger of mindless speed.
From Slow food and workouts to alternative medicine and guided meditation, to meeting people who huddle across the globe as a means of learning how to sit in a place of calm amidst a storm, Honoré doesn’t rally for a device-free era or for us to pick up and create our own version of Walden, rather he espouses ways in which we can manage pieces of our life in a slower way as a means of deeper connection and a more meaningful quality of life. He was inspired to research the art of Slow when he read an article about one-minute bedtime stories. For a moment he was excited because he could read his son stories and get back to work fairly quickly, and then he paused and realized he was completely insane for valuing saving time to get away from his child. The book is not an exploration of time but a personal journey for the author to chill out. I think all of us could relate, because who isn’t shocked/not-shocked by Amazon’s Darwinian work culture? Who hasn’t realized that cramming more in has the opposite effect, that at one point we suffer the law of diminishing returns? We’re spent, feeling as if our breath, and everything along with it, has been stolen from our body.
Sometimes I feel weird for living a slower-paced life because everyone around me is about now. Respond to that email now. Put out that client fire now. But it was only when I took a trip with the objective of doing absolutely nothing did I start a novel that two years later would find a publisher. It was only when I put my phone away during time spent with dear friends did I mend broken friendships. And it was only when I sat in a new home, thousands of miles from the place I’ve always called home, did I have the idea of a new story–something strange and dystopian, kind of like “Black Mirror”.
Because I don’t believe anything exists after we pass on. So why not live the best way we know how? I’m done with putting off my happiness for a later date as a means of sacrificing it now because what if there is no later date? A week ago I found out through Facebook that someone I know slightly died. Suddenly, at 35. It’s not fair, I thought. Wrong, I felt. A few days ago I met up with a close friend who shows me a tattoo she had done in remembrance of a friend who died suddenly this summer of a brain aneurysm. A man who was taken too soon from his wife and two children.
My friend’s tattoo reads: There is no time. So I try to follow Paul Jarvis’s advice and stop doing shit I don’t like. Operative word being try.
This summer I discovered so many wonderful books. Lydia Millet’s Mermaids in Paradise is a hilarious story about a couple who honeymoons in paradise to soon discover the waters are teeming with mermaids. Millet is a hero of mine because she’s able to draw wry, acerbic women as easily as she is in creating a canvas filled with broken people. From the moment I read My Happy Life, I was hooked, and what makes her latest book remarkable is the fact that it’s so absurd it’s almost real. Imagine what would happen if you were celebrating the start of a new life with someone amidst greed, television crew, marine biologists, and Japanese web celebrities–all over a few measly mermaids?
I picked up Nell Zink’s The Wallcreeper while waiting for my friend Summer. Another marriage, another trip–a story of two odd people who trek across Northern Europe examining love, fidelity, friendship, desire–all while transforming into unlikely eco-terrorists. The writing is sharp, crisp and funny. Often times you never get to truly glimpse the innards of a marriage–you believe the life your friends represent–but rarely do we hear about the work. Rarely do you hear the whisper of: maybe you’re not enough. Maybe we’re together because we’re terrified of being alone.
“We are never as kind as we want to be, but nothing outrages us more than people being unkind to us.” — Adam Phillip’s On Kindness
While Adam Phillip’s philosophical and historical examination of the history of kindness is slim, it took me nearly a month to complete. Phillips analyzes kindness through the lens of faith, folklore, psychology and literature. Why are we kind? Are we kind merely as a means of serving our own self interests? What is true selflessness and altruism? And what happens to a child when they experience their first hurt, what if our parents aren’t as kind as we think they should be, what then? It hurts when someone is unkind to you but in the same measure we’re able to rationalize our unkindness. On Kindness serves up more questions than it delivers answers, and I walked away from it wondering how I could be kinder in my everyday life. Can I stop myself from making snap judgments of people? Am I able to pause and meet someone’s anger with calm and kindness as a means of quelling someone else’s rage.
It occurs to me that this summer I spent a lot of time dissecting marriage of all kinds–from the familial to the friendship (as I believe we are, in a way, bound to those whom we care about even if not in the legal sense). I think about kindness, honesty and kin, and when my friend Molly sent me this article about a woman who discovered, as an adult, that she was half-black, it put me to thinking about how I’m able to reconcile discovering, last year, that I’m part black. While watching “Little White Lie,” I empathized with Lacey’s story, and admired her bravery in bringing out the truth. That’s my hair, I thought. And like Lacey, I often wonder where I fit. How I identify myself. How I define blackness for myself when I’ve always self-identified as white and possibly something other? I’m privileged in the sense that I have so many wonderful friends who have embraced me and offered up advice on how they define blackness for themselves, and how I can find my own way to it. I’m also acutely aware of my white privilege and how that affords me trespass to places where others can’t go. How I can use that to be an ally. More on this soon.
Now that I’m in my new home, I can finally wade my way through the stack. Up next is Jenny Offill’s Department of Speculation, Nick Flynn’s My Feelings (Poems) because he’s a surgeon with the English language, Lauren Holmes’s Barbara The Slut and Other People (Stories) because her first lines slay, Ta-Nehisi Coates’ Between the World and Me because it should be required reading, Tracy Daugherty’s The Last Love Song: A Biography of Joan Didion because Joan Didion, and the final book in Elena Ferrante’s Neopolitan series.
What are you reading? Do you have any recommendations for what I can add to the stack?
Posted on June 10, 2015
I’ll let you in on a secret: when I first started the master’s program at Columbia, I felt small. I felt stupid. Here I was surrounded by people who’d attended the finest private schools and the most prestigious of Ivy’s, who were as well-versed in contemporary fiction as in obscure 14th Century poets, and I was a reformed banker who read Bret Easton Ellis and the dead. I felt like an imposter in workshop–how did I get in here?–for the form and structure, the basic architecture of writing, was lost on me. My approach to books and story writing was raw, unfinished, and I was overwhelmed by the gleaming, the seemingly poised and polished.
At 24, I felt behind. I was desperate to catch up.
Over a period of a few years (punctuated by a time when I took leave from the program because my life had spiraled beyond my control), I devoured books at a rate that would only be described as astonishing. W.G. Sebald, Joan Didion, Virginia Woolf, Edmund Wilson, Oliver Sacks, Borges, Rick Moody, Raymond Carver, Amy Hempel, Ian McEwan, Marquez, Nathan Englander, Lorrie Moore, Michael Cunningham–the confluence of the living, and the long and respected dead, overwhelmed me, and for the decade of my 20s I read not because I enjoyed books but because I wanted to appear as learned as my peers. I wanted to fit, blend in. And while I discovered authors who would forever alter the way I view fiction and my approach to writing it (hello, Joan Didion, Kazuo Ishiguro, Gary Lutz), my desires were more from a state of urgency than self-investment.
Giving zero fucks is liberating.
I don’t roll with the “smart set”. I’ve few friends from my time at Columbia and even fewer from my stint in publishing. Now I surround myself with wonderful, strange people who challenge and support me. I no longer want the Knopf deal and the requisite story in The New Yorker (although I wouldn’t kick either out of bed); I’m okay with publishing only a second book in my lifetime while writing on this space. After years of hungering for the world and everything in it, I’m finally content with playing small, yet significant.
I’ve finally returned to the voracious joy of reading books like I’d had when I was younger. I read what pleases me rather than follow the trend of reading the right books, which speaks more to privilege than anything else. Lately, I’ve had to balance planning a major move and life change with a great deal of client work and scheduling all the doctor appointments I’d been ignoring for the past two years, all of which leaves little time for rest. When stress mounts and I have to schedule “me” time, I’m finding that spending time with the dead is comforting.
Over the past few weeks I’ve read Maeve Brennan’s The Rose Garden (I discovered Maeve’s work after reading Spinster, and this remarkable collection reminds me of Cheever and does not disappoint), Beryl Markham’s memoir West with the Night (I hope to live 10% of her magnificent life), and I’m knee-deep into Somerset Maugham’s The Razor’s Edge (I found this novel on the street and I love, love, LOVE it). I’m bringing George Eliot with me when I travel to Asia next month, and if I need a break I’ll read a contemporary story that touches on the dead.
Posted on April 19, 2015
Sometimes I read the books I’m unable to write because they inspire the kind of stories and books I can. The other night my friend tells me that she wants to write a book. She looks at me, pauses, and says, Well, not like you. Not the kind of book you’re able to write. We tell stories in order to live, Didion once said, and I remind my friend that this would be a dull world if we all had the capacity to tell our stories in the same way. Years ago I sat in a Columbia writing workshop and someone regarded one of my short stories with disdain, spat out, Family stories are over, Felicia. After I cried into my sleeve in the hallway, I realized her comment was ridiculous.
Every story has been told. The beauty is in its retelling. The magic lies in all the ways in which artists can interpret love, loss, heartbreak, joy, anger, rage, despair. Therein lies the art.
I don’t know how a lot of writers do it. I don’t know how they have the ability to consistently conjure new characters, architect new worlds, so swiftly. Before I sat down to write my latest novel (you know, the brilliant, dark thing that publishers love but are frightened of publishing), I’d already been thinking about these characters for years. While they didn’t have the same names, shapes or features, I was slowly coming to know them much like how I’d know real people, so when the time came to write about them (Kate, Jonah, Gillian, etc), their world came at me like a torrent, fully-realized. I love these characters because they feel like old friends, and I’m struggling to fashion a new world so quickly as all these articles on writing would have me do.
While we try to sell that dark thing over there, my agent tells me to write something new. I thought I had something but it’s nothing substantial, nothing worth occupying my time, so I read and write these small things here wondering if and when something will spark.
I read the spectrum. From Sarah Manguso’s thin but potent meditation on the art of journaling to Katherine Heiney’s razor-sharp and fully-drawn stories about young women tangeled up in love and betrayal, I oscillate between extremes in form and style. I read Bardur Oskarsson’s The Flat Rabbit (a children’s book that tackles death so beautifully) because I want to remember that the power of a good story lies in the and then what. It also reminds of economy, how writers need to be deliberate, downright surgical with the words they choose. When I was working on my novel I would spend DAYS on a single page, reworking sentences, because every scene, every line, had to be like a koan; everything I write has to be a container filled with multiple meanings.
“I don’t know anything.” It might seem counterintuitive but I try to tell myself this every day when I wake up. It’s quickly becoming my daily mantra. Now, this isn’t some exercise in self deprecation. I simply want to remind myself as soon as I wake up to see the world with clear eyes. —Jory MacKay
And I read Elle Luna’s magical book because I have to remember that I must write, always. I must gather experiences up in my hands so I’m able to write about them because I’m only able to make sense of this life through writing about it. There’s no other way.
And the rest? They’re meant to awaken, inspire me to what’s next. What’s down the road, just beyond my reach.
Posted on December 31, 2014
Years ago, I used to keep a running list of books I’d read over the course of a year. The habit started in 2002 when I resolved to read 52 books in one year (I ended up reading 60), and it continued through the greater part of this decade, except the past few years when I was too busy trying to fix my life instead of tracking it. And while I loathe year-end round-ups of any variety, I do see the value in keeping a list of books I’ve read. In the same breath I can provide a smart book recommendation while seeing where my head was at over the course of the year. Looking back at all of these stories, it occurs to me that I was drawn to people who were lost and broken but set out on the road to self-repair.
Candidly, I purchased many more books than the 25 I read this year. Some were epic disappointments (I might be the only person on this planet who couldn’t get into Ben Lerner’s latest), some still remain on my to-read stack (Lydia Millet, Darcey Steinke–I’m coming for you come January), and others I couldn’t read because the prose style or story was too close to that of my own novel.
Paul H. Connolly’s On Essays: A Reader for Writers | Marilynne Robinson’s Lila | Peter Chapman’s Bananas: How the United Fruit Company Shaped the World
Jessie Hartland’s Bon Appetit! The Delicious Life of Julia Child | Alessandro Baricco’s Mr. Gwyn | Katie Crouch’s Abroad | Brando Skyhorse’s Take This Man | Rainbow Rowell’s Eleanor & Park | Molly Wizenberg’s Delancey | Michael Cunningham’s The Snow Queen | Celebrating You (and the beautiful person you are) | It’s Gonna Be Okay | Lydia Millet’s Magnificence | Gary Shteyngart’s Little Failure | Donna Tartt’s The Goldfinch | Yiyun Li’s Kinder Than Solitude | Meghan Daum’s The Unspeakable | Dan Chaon’s Await Your Reply | Susan Minot’s Thirty Girls | Charles Duhigg’s The Power of Habit: Why We Do What We Do in Life and Business | Atul Gawande’s Being Mortal | Alejandro Junger’s Clean Gut: The Breakthrough Plan for Eliminating the Root Cause of Disease and Revolutionizing Your Health | April Peveteaux’s Gluten is My Bitch | Nadya Andreeva’s Happy Belly
Posted on December 23, 2014
Back in the days when everyone was old and stupid or young and foolish and me and Sugar were the only ones just right, this lady moved on our block with nappy hair and proper speech and no makeup. And quite naturally we laughed at her, laughed the way we did at the junk man who went about his business like he was some big-time president and his sorry-ass horse his secretary. And we kinda hated her too, hated the way we did the winos who cluttered up our parks and pissed on our handball walls and stank up our hallways and stairs so you couldn’t halfway play hide-and-seek without a goddamn gas mask. Miss Moore was her name. –From Toni Cade Bambara’s “The Lesson”
Sometimes a piece of writing will seize you, will put your heart on pause and make you come down to your knees because you feel just like that. Because the arrangement of words–and that’s what good writing is really, the delicate dance between rhythm and type–made you see the world for what it is, or perhaps it made you see something about yourself, or others, differently. For me, the power of prose is in the author’s ability to give me second sight. There’s a tree in the middle of a forest, but it’s not really a tree because it reminds you of a moment in your childhood when the forest was your house and the tree was your mother’s hair and all you wanted to do was climb up and in. A good writer arranges words in such a way that you just don’t see the tree, you see above, beyond, under, over and through it to something else, something other.
You are, if nothing else, a fakir.
I’ve been in a funk lately. I’ve dozens of books that I’ve been meaning to read but haven’t. And after completing an exhausting round of necessary revisions on my manuscript, the idea of committing to a whole new world felt unbearable. I’ve just returned from battle, and now you’re asking me to jump once more unto the breach, dear friends? COME NOW. Tomorrow is Christmas Eve, I’m still waiting on finalized contracts for two projects and who knows if I’ll ever sell this dark novel. So I set aside all the novels in favor of an essay collection I picked up on the street a few weeks back. A man was moving out of his home and he put out, quite literally, hundreds of books onto the street. I’m talking first editions. I’m talking Cynthia Ozick, Amy Hempel, Janet Malcolm, and Philip Roth. I nearly had a seizure and I took as many books as I could carry (40) and rushed on home to pore over my loot.
Can I tell you that I spent the day with Paul H. Connolly’s On Essays: A Reader for Writers? This out-of-print collection is so obscure it was challenging to locate it online (Amazon doesn’t stock it, but your local library might). A pity, really, because the collection is so remarkable, and part me of me wanted to retitle the subtitle to: A Reader for Anyone Who Likes to Read. The 56 essays examine the symbiotic nature between character and style. The essays are relatively short, but potent, and what’s remarkable is that the essays are satisfying for any reader, however, for the writer, they provide an excellent blueprint for how many authors found their voice and style.
Virginia Woolf, my hero, who brought modernist, experimental fiction to the fore (DYK that Mrs. Dalloway influenced Marquez’s A Hundred Years of Solitude? Fun fact, right?) displayed her elliptical relationship between time and the interior/exterior world in “Gas.” Sure, the essay is about tripping out on gas during a perfunctory visit to the dentist, however, you start to see how the interior (the mind) is able to move through time and space and worlds while one is confined to a chair in a state of semi-consciousness. You can see how she plays with the juxtaposition of time (the dentist visit is short but your travel and imagination makes it feel as you’ve endured years)–both devices were the foundation for her later works, notably, The Waves (one of my favorite books!!!) and Mrs. Dalloway. I also chuckled reading her rage blackout confrontation with E.M. Forrester in “A Writer’s Diary,” over women being passed over for literary prizes.
In Connolly’s collection, you’ll find essays from Joan Didion (her landmark essay, “On Keeping a Notebook,” is an obvious must-read. Then again, anything of Didion’s should be required reading), Calvin Trillin, George Orwell, E.B. White, Susan Sontag (my god, “A Woman’s Beauty: Put-down or Power Source?“), and finally Toni Cade Bambara!
There’s so much I love, and can learn from, Bambara. I’ve always been taught that if the style of what you’re trying to achieve subsumes the meaning, the style is a disservice. Writing shouldn’t call attention to itself, shouldn’t be hyper-stylized, rather the work should be speak as a whole, as a brilliant symphony of language, tone, depth and meaning. The brilliance is in the balance, and I love how Bambara’s style is visual, visceral and dramatic. Read “The Lesson,” and you’ll see what I mean. She’s telling you a story and you can hear and feel her on the page. Her language sometimes drifts from Standard English (Junot Diaz got this too, when he refused to translate from the Spanish in Drown). On a technical level, she’s a dream for me because I’m obsessed with cadence and rhythm. I read everything I write out loud, every time, just so I can hear if it’s right. It has to sound melodic, musical, potent, for me to commit to it. And like the accumulation of notes, every line has to work in conjunction with what preceded it and the line that’s about to be written. On a pure story level, her writing is smart, funny, sharp, honest, and it brings me back to old Brooklyn, when I was from around the way and boys would conversate.
I haven’t been inspired in so long, and finding Bambara was a gift. I’ve ordered all of her books and I can’t wait to dive in.
Posted on October 2, 2014
Since I was a child, I believed in the power of books; they had the propensity to save, to whisk me away from the world in which I lived and plant me temporarily somewhere else. Immersed in a stack of books, I could fall deliriously in, imagine myself in different lives, countries, and taking on the shape and voices of different people. While that sounds slightly schizophrenic, it was magical for a child who also found that she understood the world through writing about it. Through reading and living there was the writing. Always the writing. I grew up reading poems, Sweet Valley High and Nancy Drew when I was a small, and then when I was 11/12, I started mixing those books with Salinger and Cheever, more sophisticated poems (Frost, Browning–even though I didn’t know what they meant, I loved the melodic rhythm of the words). When I was a teenager, I carried a bookbag of extra books to school–I wasn’t popular, at all–and I spent the days between classes and lonely lunches, reading. Often I was bored by my AP English reading lists because I’d read those books already, and sometimes didn’t agree with my teacher’s interpretation. I liked Cheever’s Bullet Park when everyone else called it a failure, and ever since then, I read only literary fiction.
All other books were like gnats, annoying distractions. I mean, I ran a very prestigious non-fiction series at KGB Bar years ago, and I struggled, even then, finding the books, save the memoirs, interesting.
Until a few years ago when I realized I’d been missing out on SO MUCH. My myopic view toward books started to work against me as a writer. I only exposed myself to the books I wanted to write, rather than challenging myself by reading authors who had stories to tell but didn’t always rely on language as a device to tell them. I started reading more non-fiction (I tend to like biographies, industry exposes, and anything with a story as opposed to books that center around the theoretical), YA fiction (OMG, YA HAS BEEN SO AMAZING OVER THE PAST FEW YEARS!), graphic novels (I tended to drift to ones relating to food), and food/travel essays. All of these books, styles and approaches started to infuse my fiction with a lot more light. The challenge with writers (as opposed to general readers) is that we’re covert sleuths. We look at books from two perspectives: the enjoyment we get from reading a good story, and then the vivisection, the how did he/she do this? We break apart, we dissect, we analyze. I actually ripped apart a book and started moving the pages around to understand how a non-fiction author structured her book in hopes that it could help my own experimental fiction novel. Crazy, right?
When I went to Spain I carted four books with me, two of which I left behind because I didn’t enjoy them at all. Ironically, I left the literary/experimental fiction behind, and found myself comforted by reading Peter Chapman’s Bananas: How the United Fruit Company Shaped the World. The book isn’t new, and I found it on someone’s stoop, but while I found the history of United Fruit, and its social, political and economic effects on Central America, and America, powerful. The company was often called “the octopus,” and that image was palpable as a writer. Thinking about how one entity can find its way into so many lives and change them, damage them. Oddly, reading this and going back to editing my novel felt natural, whereas picking up two of the lit books I brought felt distracting, annoying, filled with language tricks. If anything, it made me go back and see if I was annoying readers with too many tricks.
Other books I’m LOVING right now:
Darcey Steinke’s Sister Golden Hair (OMG. I have been waiting for a new novel from Steinke, author of Jesus Saves, for ages) | Eliza Robertson’s Wallflowers (Stories) | Janie Hoffman’s The Chia Cookbook (who knew?) | Hemsley + Hemsley’s The Art of Eating Well
Any great recos? Books you’ve loved? Let me know!